Critics’ Picks

View of “Entrée, Stage Left,” 2015.

View of “Entrée, Stage Left,” 2015.

London

Lauren Godfrey

Kingsgate Project Space
110-116 Kingsgate Road
June 6–July 11, 2015

Lauren Godfrey’s Entrée, Stage Left, 2015, on view in her latest exhibition, closes the distance between aesthetic and culinary experience. The work treats the gallery as a theatrical three-course meal. One enters the exhibition space and is asked to place an order. Instead of food arriving, furniture gets rearranged. Tables, chairs, and menus are mobilized as sculptural material to be performed and reworked. Sculpture is as much a relational element in Godfrey’s Entrée as it is an antirelational one. As in Luis Buñuel’s Discrete Charm of the Bourgeoisie, 1972, where the characters are always preparing for a meal that never arrives, the visitors to Godfrey’s exhibition are confronted with a foodless set. All that remains is sculpture.

In its colorful yellow, blue, and red arrangement, Godfrey’s room cites El Lissitzky’s Proun Room, 1923, an abstract composition that shifts and alters depending upon the viewer’s movements. The sculptural objects that we find in Godfrey’s space are exemplary. The panel Ivy and Bob, 2015, overlaps two decorative menus of a restaurant, against a sinuous pane of sandblasted glass. One menu, shaped from an abstracted aerial perspective on a labyrinthine maze, entraps the eye in its intricate pattern. The layering of these three glyphs—a clouded swirl, a geometric maze, a decorative print—summons the polymorphic theater of the show as a whole. If there is a drama to these objects, it is the drama of everyday life.